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An Investigation Into Achieving Visual Narration Using Photochromic Dyes on a Textile Substrate

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An Investigation Into Achieving Visual Narration Using Photochromic Dyes on a Textile Substrate An investigation into achieving visual narration using photochromic dyes on a textile substrate Carol Banks A thesis submitted in accordance with the requirements for the degree of Doctor of Philosophy Heriot-Watt University School of Textiles and Design January 2014 The copyright in this thesis is owned by the author. Any quotation from the thesis or use of any of the information contained in it must acknowledge this thesis as the source of the quotation or information. Abstract Photochromic dyes have the unique property of being colourless until exposed to ultraviolet (UV) light. Their application within design has thus far been basic, predominantly developing the medium as it is exposed to natural UV light. Therefore, by exploring the dyes’ colours and movement when printed on a textile substrate and developed by artificial UV light, this thesis investigates their ability to create a form of visual narrative. Using the dyes’ colours to evoke a change in emotion set the parameters for answering this aim. Testing the interactions of the dyes’ colours in sunlight, on a range of substrates and in varied combinations, provided initial knowledge of how they perform in this medium. Whilst the stylistic techniques of French Impressionist films provided configurations with which to explore the movement of the dyes, research on colour showed the diversity of ways in which it is able to be used to express emotion. Two custom built UV LED arrays, manually operated then software driven, enabled the dyes’ development times and intervals to be controlled. Design questions were then answered by combining these factors with the dyes’ fading speeds. Storyboarding photographs became an important part of the analysis and reflection process whilst filming also assisted in observing their transient nature. This work revealed that a new methodology, that was based on placement and sequencing, would be necessary when designing with dyes that move. Design exploration illustrated how using two dyes, from opposite ends of both the fading and emotional spectrum, mixed by printing, could create a colour change, as they faded, when they were developed in a linear sequence. Subsequently, by combining abstract representational imagery with variations on the stylistic film techniques, to alternately develop two dyes, it was illustrated how, by varying their development intervals, these dyes have the potential to create a visual narrative that evokes a change of emotion in the viewer. i ACKNOWLEDGEMENTS I’d like to thank Heriot-Watt University for the opportunity to undertake this research project. The learning from this experience has been invaluable. I’d like to thank Prof Bob Christie and Ms Sarah Taylor for securing the funding from the AHRC for this project and Vivimed Labs (formerly known as James Robinson) for supplying the photochromic dyes and their technical advice. I’d like to thank Dr Britta Kalkreuter for all that I have learnt from working with her, Dr Lisa Macintyre for her advice on approaching the technical aspects of the project and Dr Christine Taylor for her software programming and perpetual cheerfulness. I’d also like to thank Dr Ajoy Kar (photonics lab) for his technical input into the project, technicians Ann Hardie (dye lab), Andy Haston and Gordon MacKinnon (electronics technicians) and Dr Basel Younes for his help in the extrusion laboratory. Most importantly, I’d like to thank my family and my friends for all of their love and support during this process. La hawla wa la quwwata ila Billah ii TABLE OF CONTENTS Abstract i Acknowledgements ii Table of Contents iii Chapter 1 Literature Review 1 1.1 Introduction 2 1.2 Narrative 4 1.2.1 Narrative within different media 4 1.2.2 French Impressionist films to express narrative 5 1.2.3 Colour to express emotion within narrative 7 1.3 Design Examples of Narrative within Interiors 8 1.3.1 Wallpapers 8 1.3.2 Projection of imagery 10 1.3.3 Imagery involving electronics 12 1.3.4 Imagery using thermochromic dyes 15 1.4 Design Applications using Photochromic Dyes 17 1.4.1 Using natural UV light - outdoors 17 1.4.2 Using natural UV light – indoors to outdoors 18 1.4.3 Using natural UV light – indoors 20 1.4.4 Using artificial UV light 22 1.5 Summary 23 1.6 References 24 Chapter 2 Methodology 29 2.1 Aim 30 2.2 Objectives 30 2.3 References 36 Chapter 3 French Impressionist Films 37 3.1 Introduction 38 3.2 French Impressionist Films as a means of Exploring the Dyes 38 3.3 Analysis of Stylistic Techniques 39 3.3.1 Optical devices 41 3.3.2 Close-up 42 iii 3.3.3 Editing 42 3.3.4 Lighting and shadows 42 3.4 Summary 43 3.5 References 43 Chapter 4 Colour 44 4.1 Introduction 45 4.2 Colour 45 4.3 Painters 47 4.3.1 J.M.W Turner 47 4.3.2 French Impressionists 52 4.3.3 Mark Rothko 55 4.3.4 Howard Hodgkin 60 4.4 Textile Artists 65 4.4.1 Norma Starszakowna 65 4.4.2 Jilli Blackwood 67 4.4.3 Festival of Quilts field trip 68 4.4.4 Raymond Honeyman 71 4.5 Summary 71 4.6 References 73 Chapter 5 Experimental Development 78 5.1 Introduction 79 5.2 Standard Printing Procedure for Photochromic Dyes 80 5.2.1 Dyes that dissolve without heating 80 5.2.2 Dyes that require heat to dissolve 81 5.2.3 Dyes that are not readily dissolved 82 5.2.4 Printing the fabric 84 5.2.5 Drying and baking the fabric 84 5.3 Testing Dyes on Substrates in Combination with Experimental Motifs 85 5.3.1 Photochromic dyes tested on six different substrates 85 5.3.2 Bird design 90 5.3.3 Stripe design 93 5.3.4 Photochromic dyes tested on 14 different substrates 95 5.3.5 Trees and circles 102 iv 5.3.6 Abstract shapes 106 5.4 Colour Interactions 110 5.4.1 Printing photochromic dyes on pigment 110 5.4.2 Printing photochromic dyes side by side 113 5.4.3 Fading strips 115 5.4.4 Mixing photochromic dye colours by printing 118 5.4.5 Mixing photochromic dye colours in the same system 123 5.5 Evaluating Surface Qualities and Finishing Techniques 125 5.5.1 Dyes printed on sateen 125 5.5.2 Devoré technique 126 5.5.3 Dye printed on pre-felt 128 5.6 Extrusion of Photochromic Dyes in Polypropylene 129 5.6.1 Extrusion of dyes using Ram extruder 130 5.6.2 Fading of extruded dyes 130 5.7 Developing Photochromic Dyes with Artificial Light 133 5.7.1 Developing dyes with 365nm light tubes 133 5.7.2 Developing photochromic dyes with light emitting diodes 134 5.7.2.1 Light emitting diodes 135 5.7.2.2 Measurement of printed photochromic dyes developed by 400nm LEDs 137 5.7.2.3 Repeat experiments made at 20mA for 5 seconds 141 5.7.2.4 Measurement of printed photochromic dyes developed by 370nm LEDs 147 5.7.2.5 Repeat experiments made at 20mA for 5 seconds 149 5.7.2.6 Measuring extruded photochromic dyes developed by 400nm LEDs 152 5.7.2.7 Repeat experiments made at 20mA for 5 seconds 155 5.7.2.8 Measurement of extruded photochromic dyes developed by 370nm LEDs 158 5.7.2.9 Repeat experiments made at 20mA for 5 seconds 160 5.7.2.10 Conclusions 162 5.7.3 Developing dyes with fluorescent light 163 5.8 Summary 165 5.9 References 166 Chapter 6 Development of Artificial Light Sources and Recording the Dyes’ Movement 169 6.1 Introduction 170 6.2 Development of Small Array 171 v 6.2.1 Objectives of small array 171 6.2.2 Fulfilling parameters of small array 171 6.2.3 Summary 173 6.3 Recording of Dyes’ Movement 173 6.3.1 Recording 173 6.3.2 Presentation 174 6.3.3 Summary 175 6.4 Development of Large Array 175 6.4.1 Objectives of large array 175 6.4.2 Fulfilling parameters of large array 176 6.4.3 Development of software programming for large array 176 6.4.3.1 Intensity variation 177 6.4.3.2 Repetition control and time delay 178 6.4.3.3 Individual matrix intensity control 178 6.4.3.4 Individual column intensity control 179 6.4.4 Summary 179 6.5 Summary 179 6.6 References 180 Chapter 7 Testing Dye Development using LED Arrays and Filming of Dyes 181 7.1 Introduction 182 7.2 Developing Dyes on Small Array 183 7.2.1 Solid colours developed by whole array 185 7.2.2 Daub motif developed by whole array 186 7.2.3 Sketching of designs 188 7.2.4 Solid colours developed by square light pattern 188 7.2.5 Daub motif developed by square light pattern 190 7.2.6 Extruded dyes developed by square light pattern 192 7.2.7 Solid colours developed by squares and lines 193 7.2.8 Solid colours developed by single column 195 7.2.9 Pattern making 197 7.2.10 Fading of solid colours 198 7.2.11 Solid colours developed by different strengths of current 200 7.2.12 Fading of dyes mixed by printing 201 7.2.13 Mixed colours developed by different strengths of current 202 vi 7.2.14 Summary 204 7.3 Filming and Viewing Dye Development 206 7.3.1 Filming the dyes 206 7.3.1.1 Solid colours developed by single column at two, five and 10 second intervals 207 7.3.1.2 Daub motif developed by single column at two, five and 10 second intervals 210 7.3.1.3 Daub motif developed by whole array at two, five and 10 second intervals 212 7.3.2 Platform for viewing videos 214 7.3.3 Summary 215 7.4 Modifications to Large Array and Development of Dyes 217 7.4.1 Intensity variation 218 7.4.2 Repetition control and time delay 220 7.4.3 Individual matrix intensity control 223 7.4.4 Individual column intensity control 226 7.4.5 Summary 226 7.5 Summary 227 7.6 References 228 Chapter 8 Design Development 229 8.1 Introduction 230 8.1.1 Imagery and mark making 231 8.1.2 Colour and mark making 231 8.1.2.1 Dot mark 232 8.1.3 New methodology 233 8.2 Combining Colour and Movement 234 8.2.1 Narrative effects 236 8.2.2 Stylistic techniques 237 8.2.3 Ideas and inspiration 239 8.2.3.1 Tree, bug and planet 239 8.2.3.2 Clouds 239 8.2.3.3 The kaleidoscope
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